在舍甫琴科的小说《艺术家》中两次提到保罗·德·科克:一种解释的尝试

O. Boron
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摘要

这篇文章致力于参考法国芭蕾舞家保罗·德·考克的小说《安德烈·勒·萨伏雅》和舍甫琴科的小说《艺术家》中的《弗里特·雅克》。本文从真实传记和严格文学性两个方面对其进行了分析。在前一种情况下,它处理的是与保罗·德·科克的书有关的情节的真实性程度,在后一种情况下,它处理的是这些作品的互文参考的功能意义和语义。在舍甫琴科的小说中,主人公对保罗·德·科克的两部小说都漠不关心,认为它们是娱乐多于教育的轻松读物。作为一名未来的散文作家,舍甫琴科可以从保罗·德·科克的小说中学习一种与读者直接对话的方法,尽管这种方法在1820 - 1830年代的俄罗斯文学中普遍存在。正如舍甫琴科所做的那样,这位法国作家反复向他的读者讲话,但这种相似性应该被视为艺术手段武器库中类型学上的巧合。年轻的舍甫琴科不仅阅读“高级”文学作品,而且也不回避优美的信件,特别是保罗·德·科克的作品,他以轻浮和开玩笑的写作方式而闻名。这位乌克兰散文作家赋予他小说中部分自传体的主人公以通讯读者的喜好。很明显,他并没有把法国小说家的创造力看作是一个有天赋的年轻人所不能接受的或可耻的东西。两部小说都有一种表达性的道德化方向。与此同时,它们也描绘了贵族、年轻女佣、流氓甚至杀人犯生活中不吸引人的时刻。所提出的观察结果一方面补充了对舍甫琴科阅读圈的研究,另一方面,它们有助于更完整地了解这位或许是这位作家最好作品的主角。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
TWO REFERENCES TO PAUL DE KOCK IN SHEVCHENKO’S NOVEL «THE ARTIST»: AN ATTEMPT OF INTERPRETATION
The article is devoted to the references to the novels of the French belletrist Paul de Kock «André le Savoyard» and «Frère Jacques» in Shevchenko’s novel «The Artist». The references are analyzed in two aspects – real biographical and strict literary. In the former case, it deals with the degree of authenticity of the episodes relating to Paul de Kock’s books, in the latter case, it deals with the functional significance, the semantics of the intertextual references to these works. In Shevchenko’s novel, the main character treats both novels of Paul de Kock with indifference, regarding them as easy reading which entertains more than educates. As a future prose writer, Shevchenko could learn a method of direct conversation with the reader from the novel of Paul de Kock though this method was generally widespread in Russian literature of the 1820–1830th. The French writer repeatedly addressed his readers, just as Shevchenko did, but such similarities should be considered as typological coincidences in the arsenal of artistic means. Young Shevchenko read not only the works of «high» literature but did not shun belles lettres, in particular works by Paul de Kock who was famous primarily for his frivolous and joking manner of writing. The Ukrainian prose writer endowed a partially autobiographical hero of his novel with correspondent reader’s preferences. It is evident that he did not treat the creativity of the French novelist as something shameful or unacceptable to a young gifted man. Both novels have an expressive moralizing direction. At the same time, they also depict unattractive moments in the lives of aristocrats, young maids, rogues, and even murderers. The proposed observations complement the study of Shevchenko’s reading circle, on the one hand, and, on the other hand, they contribute to a more complete characteristic of the protagonist of perhaps the best work of the writer.
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